on life, music etc beyond mainstream



Dies ist eine besondere Platte, die bei Schnellhörern reserviert aufgenommen werden wird. Die Aufnahmen fanden, wie bei dem exzellenten Vorgänger, in Cape Cod statt, und auch wenn sie durchaus mal „beschwingt“ aufspielen, bleibt die Atmosphäre von Grizzly Bear ungreifbar. So sehr in den Texten Spuren amerikanischer Landschaften auszumachen sind (stille verlassene Orte, keine trendy places), dreht sich in verrätselten Texten vieles um toternste, burleske Spiele von Nähe und Distanz, Fortgehen und Sehnsucht. „Time will do the talking“ heisst ein alter Song, hier könnte man sagen: „Singing does the talking“ – in abreissenden, verschachtelten, hymnischen Gesangslinien wird die Konsequenz erreicht, demgegenüber Sprache selbst nur Stottern, nur Schall und Brauch ist. Wer singt, kann schneller anfangen zu leben! Oder: es tun sich andere Wahrheiten auf, wenn man Sprache pulverisiert. Grizzly Bear machen genau das, in anmutigen, seltsamen Songs, mit „lyrics“, die sich fortlaufend um Sinn und Verstand bringen. Die Musik drumherum hat ein ganz eigenes Kapitel verdient.

Chris DeVille writes: Even as Grizzly Bear has evolved from midnight whispers to gorgeous sonic panorama to exquisitely crafted chamber pop, the band has always been about finesse more than power. When performing at an art museum once, rather than admonish the crowd to “make some noise,” the members praised their audience for being so quietly attentive—the better to appreciate every last meticulous detail. Delicate beauty and refined presentation still rule on the Brooklyn mainstay’s fourth album, Shields, but the balance is subtly shifting. On 2009’s Veckatimest, and especially on signature single “Two Weeks,” the band made an important transition: from sketches to songs, from impressionism to realism, from ghosts to creatures. On Shields, the creatures are back, this time with teeth. Lyrically, Shields finds both songwriters fixated on matters of inclusion/exclusion and coming together/pulling apart, matching the music’s cataclysmic turns with tales of human beings colliding and ricocheting. The rhythm section of Chris Taylor and Chris Bear, a finely tuned partnership in its own right, does its part to stitch the dual songwriters into a singular vision. On an album that touches repeatedly on the barriers people build between each other, the members of Grizzly Bear have forged further ahead into sweet synchronicity. 

This entry was posted on Samstag, 1. September 2012 and is filed under "Blog". You can follow any responses to this entry with RSS 2.0. Both comments and pings are currently closed.

1 Comment

  1. Michael Engelbrecht:

    „From the rollicking strums that propel „Speaking in Rounds“ to the creaking, rusted textures he teases out of „The Hunt“, Rossen’s playing on Shields is a seamless blend of folksy textures, jazzy fluidity, and proggy imagination that feels downright inimitable. Joni Mitchell has called her own idiosyncratic tunings as „chords of inquiry,“ and this feels like an apt term for the tones and inflections that Rossen conjures too. They’re stirring precisely because they’re unresolved: the progression that ends „Speaking in Rounds“‚ chorus, for example, chirps like a series of unanswered questions, each one a little more urgent and insoluble than the last.“ (pitchfork)

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